I realized
HDRP is completely physical and no personal settings can be used;)
In Built in everything worked in the range of 0-1
And in HDRP, each part has its own settings based on physical range
[quote=“UnityLighting, post:18, topic: 831626, username:UnityLighting”]
I understood 90% of the work and now I can adjust the exposure of the scene based on the physical settings in HDRP without any problems. Thank you
I will post tutorials soon to better teach new users
About Bloom:
Bloom just make the scene blurry when increasing intensity. Also does not works on emissive materials
Watch this video:
Hey @aliyeredon2
sorry to continue to jump in here but
one super important thing mentioned above
ignoring the bloom post process for a second, your emission is set to ~6nits
this is 6 LUX m2
in the scene that you have, you’re very unlikely to see emissions in that kind of out door light.
a modern phone outside in daylight probably around 700 nits at it’s absolute best so firstly set your emissions occordinaly to what the object is too.
You’re in the shade so that should also apply that the 700nits would take some effect if you were for example making a phone screen glow.
onto bloom post process
the value have always reactive that way
Threshold being tied to the law of conservation of energy which is a physics and chemestry law. ( mentioned in tooltip)
this filters pixels under darker than it’s bright point
Itensity, this is essentially a full screen blur.
imagine you breathing on a camera lens and then taking a photo, similar effect.
this has a physical baseline to create and simulate an effect found in lens’, but it is also still a post effect, a creative touch if you like.
Hope that helps some.
EDIT: i realised you both wrote back before i even finished.
I’m planning on doing another video of the same type for HDRP 10 (or 12), and I’ll go into more details for the whole dependency between light sources and exposure.
Teaching is an important part of our role as tech artists, so it’s no worry. I’ve given several workshops to ultra beginners with no lighting experience, and they had no problem understanding these concepts and look up a value in a table. It’s usually people who have a long experience with “fantasy units” workflow that have a bit more trouble adapting to these industry standards (at least in the AAA game industry).
I never really accomplished satisfying day/night cycles in combination with the PBSky, regardless how I mix and match different volumes and exposures. It leads back to an exposue/luminosity issue in the PBS implementation itself, which becomes obviously visible at dawn/dusk when the sun is a few degrees below the horizon.
An example for the said issue can be found here; https://discussions.unity.com/t/826635/2
Is there any attempt to fix it in the near future?
Otherwise it’s impossible to implement a proper time of day system, unless you roll out your own sky renderer or use a third party one.
Hey, yes, we’re aware of the issue around twilight (the strong yellow tint on the horizon). It can be mitigated with reducing the sun intensity around that time of day, but indeed it’s not optimal. There will be improvements in the future, but I cannot give you a precise ETA or HDRP version.
@SebLazyWizard i’ve seen your input elsewhere in pbs, really impressive inputs.
At this current time trying to simulate dusk/dawn blue hour, has been are hardest challenge too.
more often than not if you’re taking stills of this you’ll be doing long exposures for the most part ( especially at blue hour).
This is probably the main area that i may use exposure compensation to fine tune or limit the directional, just like when taking photos of scenes like this, i would be using expsoure compensation and exposure bracketing, to keep control of this.
now this is obviously not a still so i’ve let a few things be flexible there as you could compare video/timelapse/photo all day in this and get a vastly different experience from them all.
im guessing from your other post that your screen shot was roughly -12 <> -4 for the sun horizon position?
It’s fine to about -6 degrees, after that the bright “blob” around the sun starts to appear and finally disappears at about -14. This all depends on the camera elevation too ofc.
Yeah that is certainly as Pierred had mentioned.
Nautical twilight period.
If I remember, when PBS first came out it treated < 0° axis a lot differently, I’m guessing this was with the idea that a night sky would replace a day sky differently, maybe hemispherical rather than 360 for whatever technical limit might have been in place there.
I’d certainly feather just beyond your sun rise/set volumes a little more than physically at this point just to compensate.
Again back to photography, it’s super common to use longer exposure times here anyway, to be more creative and impactful on what essentially is just too much dynamic range for a camera.
Could you please share the settings for this scene, would love to create something like this, when I try this I’m not really sure about how low the light intensity and what the exposure of the sky emission should be?
I recorded a short video about how to quickly set up exposure settings for HDRP scenes.
This video is the result of the above discussion, which helps you adjust the exposure settings in HDRP without any hassle:
The logic:
You must add 4 components to the volume and balance them for every scene : - Visual Environment - HDRI Sky - Indirect Lighting Controller - Exposure
In the future i will upload another video to show you how to use other components in HDRP (volumetric Fog, Color grading settings)
